By Stéphane Choquette
Lors d’un congrès médical à Tokyo, Samuel Fontaine, un homme marié et père de famille, rencontre Naomi, une jeune Montréalaise citadel attirante. Cette dernière est en pleine lecture d’Un théâtre de marionnettes, un roman autobiographique d’Ellen Cleary. À l. a. lecture de certains extraits du livre, de nombreux souvenirs ressurgissent chez Samuel : à l’âge de sixteen ans, il a vécu une histoire d’amour avec Ellen, alors connue sous le nom d’Hélène et âgée d’une quarantaine d’années. Cette dernière, parfois douce, parfois monstrueuse, air of secrecy laissé des marques indélébiles sur l. a. vie de Samuel.
Le récit est brillamment entrecoupé d’extraits de toutes sortes : romans et nouvelles d’horreur d’Ellen, récit autobiographique de l’auteure, ancienne correspondance entre Hélène et l’adolescent, aspect de vue de Samuel sur son enfance, etc.
Entre le passé, le présent, l. a. fiction, l’autofiction et los angeles réalité, se joue un jeu de miroirs tout à fait impressionnant. Jeux de pouvoir, de séduction et tromperies sont monnaie courante chez les ogres...
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Lors d’un congrès médical à Tokyo, Samuel Fontaine, un homme marié et père de famille, rencontre Naomi, une jeune Montréalaise citadel attirante. Cette dernière est en pleine lecture d’Un théâtre de marionnettes, un roman autobiographique d’Ellen Cleary.
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Additional resources for La Romance des ogres
4 Cf. P. Mackridge, Language and identity in Greece, 1766-1976 (Oxford, 2010). For these and other examples, see Mackridge, Language and identity, esp. pp. 97, 152, 168, 177 and 231. 3 4 marilena karyolemou It seems, therefore, that in dual language situations, educated people can make use of both the learned and the vernacular variety in writing. While such an assertion might be interpreted as an either/or case, the situation is in reality much more complex, especially when rapid or extensive social changes tend to dilute and reshape class distinctions: the boundary between what is learned and what is naturally acquired is not always easy to establish.
Ordinary katharevoussa, 3. mild katharevoussa, 4. moderate or simple katharevoussa, 5. popularised (form of ) katharevoussa, 6. extreme (conversational) dhimotiki, 7. official dhimotiki, 8. journalistic dhimotiki, 9. moderate dhimotiki, 10. mildly purified dhimotiki, and finally, 11. modified dhimotiki. 7 Among the spoken varieties, they included: 1. rural or urban dialects, 2. urban vernacular varieties, 3. standard vernacular, 4. formal spoken Greek. Among written Greek: 1. Psycharian dhimotiki, 2.
We could also envisage a different rating for each feature: we do know, for instance, that the use of the dual and the optative mode are two of the most important indicators of closeness to classic norms; in light of this, therefore we could allocate them a higher rank of classical-ness on our linguistic indicator. , they might use both the monolectical future tense of Classic Greek and the innovative periphrastic constructions with future meaning. Although both constructions have the same semantic value – they both place an event at some point in the future – and could therefore be considered semantically equivalent, they in fact belong to different stylistic – and probably sociolinguistic – levels because of their affiliation with a specific set of linguistic norms.
La Romance des ogres by Stéphane Choquette